As the summer season draws to a close and we gear up for an exciting  fall of animated action, it is time for this wretched author to once more examines the subtleties of fourteen shows that I’ve (mostly) watched over the past eleven weeks, due to the otherwise lack of meaningful employment.
1. Akame ga Kill
Akame ga Kill is – how should we say this – extremely anime. The fights are full of talking, the comedy is full of boke’s and tsukkomi’s, the story is full of mediocre, the baddies are full of crazy, the main protagonist is full of stupid, the tsundere is full of tsun, the dojiko is full of fail, and the token gay guy is full of sparkles.
This show readily hits every trope and stereotype of the action-adventure, adventure-comedy and shounen genres. However, it must be given to White Fox that they hit each trope extremely well. The characters, while tired in personality, were well fleshed out; the fights, while pedestrianly choreographed, are beautifully animated; the comedy, while well-worn, are correctly timed and executed. Had you read my previous blog posts, you would know that I have little problem with lack of originality, as long as the premise is properly executed.
A major problem, however, exists with the portrayal of villains in Akame. While the premise suggests a certain level of greyness to character alignments, with the heroes being ruthless assassins and the villains being somewhat representative of order and justice. However, every single villain has been either mildly psychotic or extremely, off-the-fucking-rails psychotic. The show falls back to its archetypal roots and fails to deliver potential moral quandaries, despite offering several opportunities for them in the Esdeath arc.
[SPOILERS AHEAD. DO NOT READ NEXT PARAGRAPH IF YOU HAVEN’T WATCHED AT LEAST EIGHT EPISODES OF THE SHOW]
Something extremely notable about Akame ga Kill is its lack of reluctance to perform the titular verb on its cast. To be honest, I’m not sure what to think of that. Killing off characters, when done properly, can add to the storyline, and bring somberness to a plot distracted by jokes and mild fanservice. When done improperly, however, it removes the suspension of disbelief and telegraphs the need for viewer emotion, often heralding anything but. It is very difficult to place where exactly Akame ga Kill’s various main cast deaths are. On one hand, each death is filled with over-the-top melodrama that very clearly calls out for attention, but on the other, the scenes are well integrated into the story and the level of melodrama is comparable to the rest of the show’s high tension tone. For me, it straddles the line between good and excessive. Reactions may vary from audience to audience.
Now that we’ve got the serious part out of the way, it is time to inform you that Akame is indeed best girl and any talk to the contrary shall see its speaker burnt on the altars of Tatsuya the Mahoukaman.
Expected Rating: 6/10 (Although it is way too early to tell in a 2 cour series)
…To be continued tomorrow (assuming Kelloggs’ could whip me into writing more).